Beethoven wrote almost a dozen overtures, perhaps the most famous, of course, being the four that are connected with his only opera, Fidelio. Of the rest, one is a potboiler–Wellington’s Victory–and some others are not heard often today. But most are of the stellar quality that all expect. Without doubt, in the forefront of the latter group is Egmont. It is a commonplace of the history of the arts that some artists create with a deep reflection of their times and circumstances (to the delight of aficionados who prize personality), while other artists are able to pursue their art in an Olympian detachment from personal circumstances. Beethoven unquestionably could work in either fashion, and the Overture to Egmont seems to fit the bill.
Vienna was in turmoil during the summer of 1809, owing to the occupation of Napoleon’s army, and the state of the economy and currency values added to everyone’s distress. Beethoven—always concerned with money—took it all with difficulty, but was able to put it aside and compose some of his most important works. Completion of the “Lebewohl” piano sonata and the “Harp” string quartet, as well as initial work on the “Emperor” piano concerto date from that year, and so does Beethoven’s first efforts on Egmont. That being said, it is not difficult to draw the conclusion that much of the storm and triumph of the overture stems from the anxiety over the French invasion.
Beethoven was a great admirer of Goethe, and was commissioned by the Viennese Court Theater to provide incidental music for a revival of Goethe’s 1787 play about the heroic death of Lamoral, Count of Egmont in 1568 in the fight to liberate the Netherlands from oppressive Spanish rule. His heroic, fatal opposition led to the uprising and brutal war that ultimately led to independence. Beethoven finished the commission in June 1810, providing an overture and nine other short incidental pieces, lasting in all about forty minutes.
The power, dramatic nature, and overall musical style of the overture is in keeping with many other works of his “middle period,” including the familiar third and fifth symphonies, his opera, Fidelio, and the “Appassionata” piano sonata. The slow introduction begins, in the best Beethovenian fashion, with the somber gravity of a massive unison in the whole orchestra. The next four measures are in the traditional rhythm of a traditional, plodding Spanish sarabande, familiar to many from its frequent employment by Handel and other Baroque composers. Whether or not it is symbolic of the stultifying oppression of Egmont’s foes is, of course, a personal, question. You decide. Gentle woodwinds answer and then more of the opening material. A little descending scale is next, and more of it will be heard throughout. It’s the basis for a crescendo and accelerando that leads to the allegro of the movement, proper. There, the descending arpeggio in the violoncellos is the main theme and heard straightaway. The rhythmic drive forward is carried by a little four-note figure right out of the famous opening of the Fifth Symphony. As you would expect, the sonata form leads us to the relative major in Ab, and a second theme motive that is a happy and faster version of the opening sarabande. Remember, this is Beethoven, and he makes full use of his material, in total mastery of “economy of means.”
Ascending scales in Ab major lead to the development, and the composer makes use of all the material heard so far, and clearly so to listeners. But, it doesn’t last long, and the recap is upon us, including a somewhat unusual excursion to the keys of Db major and Bb minor. And then, a sudden and dramatic unexpected silence—Beethoven, himself, indicated that it signified the death of Egmont on the scaffold. Soft clarinets and bassoons preface the rousing accelerando and crescendo that leads to the coda. And that’s based upon the exultation of the “Victory Symphony” heard later at the ending of the play. A heroic figure mimicking fanfares of trumpets and French horns pervades, as all the orchestra becomes “honorary” triumphant brass in the smashing drive to the end.
Thus, good is victorious over evil, even in death, owing to the heroic strife of the individual. Egmont emphatically dramatizes the composer’s innate, deep dedication to that tenet.
-Wm. E. Runyan
© 2025 William E. Runyan